^{Dedicated to the Poet Agostinho Neto,
President of The People’s Republic of Angola: 1976}

1
I will no longer lightly walk behind
a one of you who fear me:
                                     Be afraid.
I plan to give you reasons for your jumpy fits
and facial tics
I will not walk politely on the pavements anymore
and this is dedicated in particular
to those who hear my footsteps
or the insubstantial rattling of my grocery
cart
then turn around
see me
and hurry on
away from this impressive terror I must be:
I plan to blossom bloody on an afternoon
surrounded by my comrades singing
terrible revenge in merciless
accelerating
rhythms
But
I have watched a blind man studying his face.
I have set the table in the evening and sat down
to eat the news.
Regularly
I have gone to sleep.
There is no one to forgive me.
The dead do not give a damn.
I live like a lover
who drops her dime into the phone
just as the subway shakes into the station
wasting her message
canceling the question of her call:
fulminating or forgetful but late
and always after the fact that could save or 
condemn me

I must become the action of my fate.

2
How many of my brothers and my sisters
will they kill
before I teach myself
retaliation?
Shall we pick a number? 
South Africa for instance:
do we agree that more than ten thousand
in less than a year but that less than
five thousand slaughtered in more than six
months will
WHAT IS THE MATTER WITH ME?

I must become a menace to my enemies.

3
And if I 
if I ever let you slide
who should be extirpated from my universe
who should be cauterized from earth
completely
(lawandorder jerkoffs of the first the
                   terrorist degree)
then let my body fail my soul
in its bedeviled lecheries

And if I 
if I ever let love go
because the hatred and the whisperings
become a phantom dictate I o-
bey in lieu of impulse and realities
(the blossoming flamingos of my
                   wild mimosa trees)
then let love freeze me
out.
I must become
I must become a menace to my enemies.

I want to write poems for construction workers and dreamers
For revolutionaries
For deadbeats and those on the low
I never want to ask please fix us all
I want for us to want
to patch every heart
and pave every road
and destroy every system
that has ever left us
broken. I want to sing
like frank ocean, like wonder
like sonder, like mereba, like the sea
I want to recite the line
Took the wretched out the earth
Called it baby fanon,
I want to call someone baby.
I want to stop smoking because I want to live,
I can only love my comrades if I live,
and I want to clean my room,
I want to clean my room every week
and make my bed and put peppermint in my hair
to stop needing my inhalers
and to inhale solidarity, and to eat the rich,
I want to eat the rich, to cancel the rents,
to know my neighbors
and to know my neighbors
are safe. I want to move like water, to move
from unity to struggle to unity,
to have no perfect world we haven’t fought for.

You may write me down in history
With your bitter, twisted lies,
You may trod me in the very dirt
But still, like dust, I’ll rise.

Does my sassiness upset you?
Why are you beset with gloom?
’Cause I walk like I’ve got oil wells
Pumping in my living room.
Just like moons and like suns,
With the certainty of tides,
Just like hopes springing high,
Still I’ll rise.

Did you want to see me broken?
Bowed head and lowered eyes?
Shoulders falling down like teardrops,
Weakened by my soulful cries?

Does my haughtiness offend you?
Don’t you take it awful hard
’Cause I laugh like I’ve got gold mines
Diggin’ in my own backyard.

You may shoot me with your words,
You may cut me with your eyes,
You may kill me with your hatefulness,
But still, like air, I’ll rise.

Does my sexiness upset you?
Does it come as a surprise
That I dance like I’ve got diamonds
At the meeting of my thighs?

Out of the huts of history’s shame
I rise
Up from a past that’s rooted in pain
I rise
I’m a black ocean, leaping and wide,
Welling and swelling I bear in the tide.

Leaving behind nights of terror and fear
I rise
Into a daybreak that’s wondrously clear
I rise
Bringing the gifts that my ancestors gave,
I am the dream and the hope of the slave.
I rise
I rise
I rise.

I look at the world
From awakening eyes in a black face —
And this is what I see:
This fenced-off narrow space
Assigned to me.

I look then at the silly walls
Through dark eyes in a dark face —
And this is what I know:
That all these walls oppression builds
Will have to go!

I look at my own body
With eyes no longer blind —
And I see that my own hands can make
The world that’s in my mind.
Then let us hurry, comrades,
The road to find.

The dead do
     what they want
which is nothing—

sit there, mantled,
     or made real
by photographs

in silver frames,
     or less real
by our many ministrations.

Dusting. Bleach. The world
     swept, ordered,
seemingly unending.

The dead, listless,
     lazy, grow tired
& turn off the TV—

or like a father passed
     out in an easy chair
during the evening news

      what’s watched now
does the watching.

One can find only peace in the sea.

I don’t agree. I think of migrants when I hear the sea. Is my anger justified?
A window, not eyes, overpours. Love of the world. Lonely and often fooled.
Occupied by health insurance and visas. Please, please recover. I thought I’d healed
her death but here I am, waiting.

Sink into memory of happy and together, which is a self looking back and taking
out of context the bright feelings.

Move forward into embrace. Loneliness moving with.
I was thinking of you (the word) and how it accompanies. But how too it can imply
distance—moments behind the eyes, fading planets, how people hold differently
the changing sentences and truths of being.

How in my late 20s I planned on traveling to a lover in another country but realized
the night before, my passport had already expired. I couldn’t take the pain of the
border, the disclosure of not being a citizen. Of being so in love I would have risked
detainment.

Something close to 2 p.m. now but really it’s later in some place I’ve never been.

what the birds know is the way home

it begins with a door that cannot find its own name

the bird who stitches together the last sky must sing the name into existence

and the door opens into the burning of the world

through the door we find each other

and in the wholeness the birds

collective rupture into species being

the last sky world burn sings itself into our feet

soles imbued with prophecy of dirt

good lord last sky world burn there is something beyond you

the birds are taking us to find it

you are singing the door open for us

and through it streams the flood of the people

the feet of the flood of the people burn the world as they run

the last sky world burn is desperate to open the door for us

there are birds making treaties with the sky to facilitate its arrival

there are feet conspiring with the land to ensure the world burn is total

last sky will empty itself of airplanes and war jets to make room for our spirits

the last sky world burn is a sketch of a coming dream

it is our duty to believe in its inevitable birth

the last sky world burn asks a question

it is our responsibility to make the answer

of that old feeling of being
in love, such a rusty
feeling, rusty,

functionless
toy. In odd

sequential dreams
I can still love.
Love in the old way.

Here is a sweet lozenge.
Here is some broth,

on whose surface
I have floated
edible flowers.

I can feel the old feeling
where I used to feel it,

in my chest. 
In the dream I feel it,
but when I wake

the feeling is gone.
There isn’t a word

for the feeling that replaces it.
Not numbness or emptiness.
It is a nameless feeling.

Racy in its own way.
A racy new toy.

Everything is fine: a means to endure  
news cycles, historic cycles, menstrual 

cycles. This is walking home after work,  
crawling into bed naked. Night, quiet with 

snow. I am an empty bank account.  
I am a pylon glowing in the dark. I am  
a primal scream. I am not here.         

The body speaks first. If that doesn’t work,  
the mind empties: a crate of crabs scuttling

toward nothingness. Authoritarianism 
blossoms like a corpse flower: foul men 

spread their stench across the globe.  
I remember these songs. It’s all on fire. 

A meteor // a virus // a bomb   
like a dark-eyed angel hurtles toward us. 

I’d like to see the ocean lap against a glacier 
before the end. I’d like to see the northern 

lights. I’d like to watch effigies of foul men  
burn in the desert. I’d like to be there, reel there, 
at the end.

^{for Renee Nicole Good
          1988–2026}

The fall is the crashing, a sudden brightness,
call it a snapping twig on a broken tree,
call it the never fulfilled promises of freedom
                        of returning what was stolen.

Popping is what I remember from being trained
in subzero mid-winter, boy soldier boy
studying the sickness of projectiles sent into flesh,
the popping that excites the sick nerves
of men who order us to shoot, men who forget
their own sickness to call it courage.

What of the word used so often, what
of that tender softness her children will not hear
in the moment, who will have to trust memories
and stories of her saying it’s okay, I love you

                        —like Tupac resisting

she now breathing forgiveness to her murderer.

            What of the wind’s song in the crashing
of an empire, the way it cracks with howling shrillness,
insane with fear of a colonial ending, turning
in the air to see its one blood-filled eye being put out
now ...

            here where a poet names this moment
            for what it is, another crackling flame,
            in the wall of fire, not yet an apocalypse,

but the calculus of fools.

^{January 11, 2026}

^{“When did the ‘present’ begin?”
            —Lauren Berlant}

When the tyrant’s voice comes on the car radio, I close my eyes in an effort to slow the rate at which hopelessness enters me. With this act, I hurl myself faster toward extinction.

Every morning, I stretch, put food in my throat, and fail to forgive myself. 

At night, I sit down to watch last year’s extinctions paint the wall, while next time’s fire buffers in a perpetual next time.

Somewhere between these, I occupy the present tense, with all the confidence of a settler.

Sometime before was when the things we survived happened. What am I surviving today: the war or its unending ending?

I remember none of it and so live without language for its opposite. 

The country (was/is) divided, the US military (occupied/has occupied) the country, I (return/am returning) there. 

What is the opposite of the present tense? 

(I’m speaking, I say, until it’s no longer true.)

I love next time. I love it with all the declarative confidence of a child who’s never fished the softened bodies of her parents from a river as soldiers chew cud.

History hangs inside me, like a dependent clause.

History ends when its mirrors rush from the future like brake lights, polishing me into language.

After the catastrophe. By polishing me; through buffering grammar. In red memories dotting the highway smudged out by a storm. By the tyrant, unevenly distributed. With current.

The screech of tires is just the sound of my past catching up with yours.

The only citizenship I have was given to me 
by the Brooklyn trees. The trees of heaven, now ghost trees; 
the trees of Canarsie: little-leaf lindens, silver maples, Norway 
maples, and their little ship of seeds like ships on the Atlantic. 
Or their paired tinted samaras which have wings and 
thus love to spiral and flutter down to the soil in the autumn 
gardens where I sometimes sit and try to listen 
to the labor of aquifers underground, the groan of seeds. 
My sister who died and is now underground must be one of 
those seeds. The white seeds, milky and deciduous, grow up to 
feed Carolina wrens, Buteo hawks and laughing gulls, these 
birds of Brooklyn are my companions when I sleep and dream 
that I’m singing in my sister’s voice, or that I’m a bird of 
paradise, high and mauve above a mountain, 
gliding over a blue marina, and in that dream I have on my 
head a crown of fuchsia, and on my feet the bronze 
hooves of white horses, the animals of grief. 
Once, in the slice of the dark, returning 
from the day’s labor, with rose apples in my knapsack, and 
suddenly remembering something funny my sister had once 
said, I laughed in the dark and blessed myself. Then flush with 
images of how we used to climb trees together as children, and 
knowing that I’m invisible in this city of gilded harbors
anyway, I thought, though I did not do it, I thought I might 
climb the bark and silk of this maple tree
I saw and jostle with black ants and vine dust, and go higher 
and higher, as in my childhood until I reached the dome of the 
tree. And from that high up, look toward the ports and islands 
and tidal estuaries of the city and see them as silver 
constellations held together by a finger of darkness; 
Or toward the leafy cloud of the Botanical Garden 
where goldenrods, asters and canna lilies sleep in midnight sap 
and await resurrection by light. Perhaps, my sister is only 
asleep. Or toward the bay of the Hudson, near the Little Red 
Lighthouse, where the Atlantic meets the shore, and see my 
ancestors rise as mist from the ocean. 
I thought I might look from my tree and see the mossy acres of 
Hart Island, that burial ground of strangers and citizens, 
where all those we’ve lost are under the white dwarf stars of 
headstones. The spectral multitude. As if while we slept, the 
graves, on their own, began to spread 
from plot to plot, multiplying all over the face of the earth. 
It is not true that I praise the dead. I merely ask them to teach 
me their song.

You have to imagine it:

Who said you were too dark/too
Large? Too queer/too loud?

Who said you were too poor/
Too strange? Too fat?

You have to imagine it:

Who said you must keep quiet?
Who heard your story, then
Rolled their eyes?

Who tried to change your name
To invisible?

You’ve got to imagine:

Who heard your name
And refused to pronounce it?
Who checked their watch
And said “not now”?

James Baldwin wrote:

“The place in which I’ll fit
Will not exist
Until I make it.”

New York, city of invention,
Roiling town, refresher
And re-newer,

New York, city of the real,
Where the canyons
Whisper in a hundred
Tongues,

New York, 
Where your lucky self
Waits for your
Arrival,

Where there is always soil
For your root.

This is our time.

The taste of us/the spice of us
The hollers and the rhythms and
The beats of us.

In the echo of our
Ancestors,
Who made certain we know
Who we are.

City of Insistence,
City of Resistance,

You have to imagine:

An Army that wins without
Firing a bullet,

A joy that wears down
The rock of no.

Up from insults,
Up from blocked doors,
Up from trick bags,
Up from fear/up from shame,
Up from the way it was done before.
You have to imagine:

That space they said wasn’t yours.
That time they said you’d never own.
The invisible city lit, on its way.
This moment is our proof.

When the pickup truck, with its side mirror, 
almost took out my arm, the driver’s grin

reflected back; it was just a horror

show that was never going to happen, 
don’t protest, don’t bother with the police

for my benefit, he gave me a smile—

he too was startled, redness in his face— 
when I thought I was going, a short while,

to get myself killed: it wasn’t anger

when he bared his teeth, as if to caution 
calm down, all good, no one died, ni[ght, neighbor]—

no sense getting all pissed, the commotion

of the past is the past; I was so dim, 
he never saw me—of course, I saw him.

Grocery store carnations
arranged on a kitchen table—
call things what they are—they’re dead,

the flowers, the water only delays
their dying. Online, a biology forum
debates what constitutes death:

Tissue dies, someone writes,
and everyone agrees though not
on a definition. Theory of mind,

theories of everything—I trained
to be an English teacher for years
before I suffered under a principal

who warned me:  pronouns are heavy here,
and I agreed, though we meant
different things, he was telling me

to avoid teaching a part of speech.
My friend had a hysterectomy
before the state could take away

his right to do it; more friends
married last year for the same reason,
rings bought with a promise

to upgrade them in the future.
I like mimicry in nature, eyespots
on a moth, though I recognize

that change is one response to brutality—
like Judith slaying Holofernes,
her sword passing cleanly through

the despot’s neck; when the people
of her besieged city saw his severed
head, they must have applauded,

they must have felt such unrepentant joy.

At the end of every holocaust film I’ve seen and there

are not that many

they show real life survivors and the lines are

Never Again

and some of us like me/stare into these films

down long tunnels of history

wondering how it could have ever happened at all

that a leader and his minions could be so toxic, poisonous

you’d turn against your neighbors

and you could be so oblivious, brainwashed, scared

desperate to be superior or to survive

you’d do anything-or almost.

They say never again

but it is again

as I look at the deportations

round ups

I’m reminded of Idi Amin when he cast out foreigners

and Forest Whitaker in the film The Last King of Scotland/when he played him.

And to see it is again

at rallies, at protests, they show the coat hangers and crude instruments

women were forced to use in back alley abortions

We say never again but taking away women’s choice

and Planned Parenthood it is again.

Today started out in an argument with a so called fan

who didn’t understand why I mentioned race so much in my new book

and that white man is not the first/a black woman

asked too.

I wanted to scream HELLO haven’t you seen the news?

Didn’t you see what happened to Stephon Clark?

unarmed and shot in the back six times by police

And no one even cares what happens to women/

Black lesbians or lesbians of color

There’s no public outcry.

A student once wrote to me in an academic paper

that a parent forced her to stop playing sports

because they said sports made her more of a dyke

It murdered my student inside because she was an athlete

Yeah so the white guy I argued with about my book

said he was just giving me some good advice

from his experience as an empath

I said I don’t need your advice

I have reasons for talking about race and gender in the interpersonal

He said he was just trying to help me.

I’ll offer this non-sequitur

Winnie Mandela died a few weeks ago

She had great impact on me

I read she was nobility

But then of course the difference between her and say

how Princess Diana was treated

Everyone accepted and loved Diana’s silent/passive status

She was allowed to be gorgeous

No one ever associated her with that dirty colonial stain

There are moments in that recent Winnie Mandela doc that stand out to me

where she buried her face in her hands and screamed out

as I have so many times, “I’ve been betrayed”/the other moment

was when she said she was the only ANC member

brought to TRC and made to testify

Also that Nelson Mandela forgave a nation

but he could never forgive her.

I think what was done to Winnie

is also done to other Black women and working artists

Black women fighting to give language/resistance

but it only matters when a celebrity says or does it.

At Cape Coast Castle in Ghana after you’ve passed

the door of no return

there is a plaque donated to the Castle by Black tribal elders/it reads:

May we never sell ourselves into slavery again...

But it is Again.

I want to be surrounded by splendor, but beauty is capitalism. This is to say
purchase power is how I was taught to love things & now I am exiled
in a country where living is only spectacle & roses, never bread.
How do I feed a village when my only skill is personal acquisition, not
distribution? My god, how wrong I was to covet dresses over firearms,
poetry books over agriculture. Ross sends me sunchokes from his garden
& I squint my eyes at them, trying to imagine the texture of drawing
food from the earth—my hands in dirt turn into rope pulling Good & asking
for forgiveness. They are killing us & we are all just going to the office,
watching tv & ordering out. I thought we were supposed to be resisting.
The deaths will accumulate like the snow & we will all be forced to forfeit
our lives for the revolution. I’m tired of hearing how nuanced it all is. It’s not.
They say it has everything to do with money & power, but what they want
us to forget is that it is about how we love. We are fighting for the right to
 

spend a storm inside
making soup & sourdough
& no one gets shot—

Prisoners are we,
American citizens imprisoned
For daring in the name of Democracy
To protest against the continued denial
Of the right of self-government
To twenty millions of the American people.

We lie in a dungeon
Long ago abandoned and condemned,
Just as politically we are held
Imprisoned in a subjection
Abandoned and condemned
By every other nation of English speech and spirit.

Painfully raising my head,
I look down the long row
Of gray-blanketed heaps.
Under every heap a woman,
Weak, sick, but determined,
Twenty gray fortresses of determination.

It all depends on the child’s arrival. 
If it arrives in what we call The Dawning 
Hours, you’ll have to ring the bell

for entrance. In this case, 
the Dawning Hours Business Office 
will contact you with a separate invoice

for the resources expended to release you 
from the infected world 
into the lobby where you will check in

with reception. If you arrive outside 
of The Dawning Hours, you will enter 
through the ground floor of the North Tower.

You will find your own way. 
If you reach the Medi-Spa for Patrons 
Near Death, you have gone too far

in one direction. If you reach the Sensory 
Deprivation Tanks for Life Resistant Arrivals™  
you’ve gone too far in the other.

If your convulsions are so powerful 
that you cannot walk, you can 
expect a bill

for anywhere between $50 and $12,000, 
depending on whether your small sea breaks 
in transit and stains the carpeting.

And Ma’am? If you don’t mind me 
saying so, you and your offspring 
are going to want to avoid any

version of a significant rupture
—a hemorrhage, a cord
prolapse, that kind of

thing—because while your 
assigned medical professional is 
in network there’s no telling

whether the Life-Saving Machinery™  
is in network and by “no telling” 
I mean they literally will not tell you

until you get your bill, assuming 
you live, otherwise your bill 
will go to your next

of kin, assuming your kin lives 
beyond the birth, and, what’s that, 
Ma’am? No. No, I don’t know

whether your plan covers Hereafter 
Care. Do you have an advanced
directive? I see. Yes, certainly, yes,

I’ll transfer you Higher Up.

Who made the world? 
Who made the swan, and the black bear? 
Who made the grasshopper? 
This grasshopper, I mean— 
the one who has flung herself out of the grass, 
the one who is eating sugar out of my hand, 
who is moving her jaws back and forth instead of up and down— 
who is gazing around with her enormous and complicated eyes. 
Now she lifts her pale forearms and thoroughly washes her face. 
Now she snaps her wings open, and floats away. 
I don’t know exactly what a prayer is. 
I do know how to pay attention, how to fall down 
into the grass, how to kneel down in the grass, 
how to be idle and blessed, how to stroll through the fields, 
which is what I have been doing all day. 
Tell me, what else should I have done? 
Doesn’t everything die at last, and too soon? 
Tell me, what is it you plan to do 
with your one wild and precious life?

^{“Nam Sibyllam quidem Cumis ego ipse oculis meis vidi in ampulla pendere, et cum illi pueri dicerent: Σιβυλλα τι θελεις; respondebat illa: αποθανειν θελω.”}

^{For Ezra Pound
il miglior fabbro}

I. The Burial of the Dead

April is the cruellest month, breeding
Lilacs out of the dead land, mixing
Memory and desire, stirring
Dull roots with spring rain.
Winter kept us warm, covering
Earth in forgetful snow, feeding
A little life with dried tubers.
Summer surprised us, coming over the Starnbergersee
With a shower of rain; we stopped in the colonnade,
And went on in sunlight, into the Hofgarten,
And drank coffee, and talked for an hour.
Bin gar keine Russin, stamm’ aus Litauen, echt deutsch.
And when we were children, staying at the archduke’s,
My cousin’s, he took me out on a sled,
And I was frightened. He said, Marie,
Marie, hold on tight. And down we went.
In the mountains, there you feel free.
I read, much of the night, and go south in the winter.

What are the roots that clutch, what branches grow
Out of this stony rubbish? Son of man,
You cannot say, or guess, for you know only
A heap of broken images, where the sun beats,
And the dead tree gives no shelter, the cricket no relief,
And the dry stone no sound of water. Only
There is shadow under this red rock,
(Come in under the shadow of this red rock),
And I will show you something different from either
Your shadow at morning striding behind you
Or your shadow at evening rising to meet you;
I will show you fear in a handful of dust.

           Frisch weht der Wind
           Der Heimat zu,            
           Mein Irisch Kind,
           Wo weilest du?

“You gave me hyacinths first a year ago;
“They called me the hyacinth girl.”
—Yet when we came back, late, from the Hyacinth garden,
Your arms full, and your hair wet, I could not
Speak, and my eyes failed, I was neither
Living nor dead, and I knew nothing,
Looking into the heart of light, the silence.
Öd’ und leer das Meer.

Madame Sosostris, famous clairvoyante,
Had a bad cold, nevertheless
Is known to be the wisest woman in Europe,
With a wicked pack of cards. Here, said she,
Is your card, the drowned Phoenician Sailor,
(Those are pearls that were his eyes. Look!)
Here is Belladonna, the Lady of the Rocks,
The lady of situations.
Here is the man with three staves, and here the Wheel,
And here is the one-eyed merchant, and this card,
Which is blank, is something he carries on his back,
Which I am forbidden to see. I do not find
The Hanged Man. Fear death by water.
I see crowds of people, walking round in a ring.
Thank you. If you see dear Mrs. Equitone,
Tell her I bring the horoscope myself:
One must be so careful these days.

Unreal City,
Under the brown fog of a winter dawn,
A crowd flowed over London Bridge, so many,
I had not thought death had undone so many.
Sighs, short and infrequent, were exhaled,
And each man fixed his eyes before his feet.
Flowed up the hill and down King William Street,
To where Saint Mary Woolnoth kept the hours
With a dead sound on the final stroke of nine.
There I saw one I knew, and stopped him, crying: “Stetson!
“You who were with me in the ships at Mylae!
“That corpse you planted last year in your garden,
“Has it begun to sprout? Will it bloom this year?
“Or has the sudden frost disturbed its bed?
“Oh keep the Dog far hence, that’s friend to men,
“Or with his nails he’ll dig it up again!
“You! hypocrite lecteur!—mon semblable,—mon frère!”

II. A Game of Chess

The Chair she sat in, like a burnished thone,
Glowed on the marble, where the glass
Held up by standards wrought with fruited vines
From which a golden Cupidon peeped out
(Another hid his eyes behind his wing)
Doubled the flames of sevenbranched candelabra
Reflecting light upon the table as
The glitter of her jewels rose to meet it,
From satin cases poured in rich profusion;
In vials of ivory and coloured glass
Unstoppered, lurked her strange synthetic perfumes,
Unguent, powdered, or liquid—troubled, confused
And drowned the sense in odours; stirred by the air
That freshened from the window, these ascended
In fattening the prolonged candle-flames,
Flung their smoke into the laquearia,
Stirring the pattern on the coffered ceiling.
Huge sea-wood fed with copper
Burned green and orange, framed by the coloured stone,
In which sad light a carvèd dolphin swam.
Above the antique mantel was displayed.
As though a window gave upon the sylvan scene
The change of Philomel, by the barbarous king
So rudely forced; yet there the nightingale
Filled all the desert with inviolable voice
And still she cried, and still the world pursues,
“Jug Jug” to dirty ears.
And other withered stumps of time
Were told upon the walls; staring forms
Leaned out, leaning, hushing the room enclosed.
Footsteps shuffled on the stair.
Under the firelight, under the brush, her hair
Spread out in fiery points
Clawed into words, then would be savagely still.

“My nerves are bad tonight. Yes, bad. Stay with me.
“Speak to me. Why do you never speak. Speak.
“What are you thinking of? What thinking? What?
“I never know what you are thinking. Think.”

I think we are in rats’ alley
Where the dead men lost their bones.

“What is the noise?”
                                 The wind under the door.
“What is that noise now? What is the wind doing?”
                                        Nothing again nothing.
                                                              “Do
“You know nothing? Do you see nothing? Do you remember
“Nothing?”
                    I remember
                                        Those are pearls that were his eyes.
“Are you alive, or not? Is there nothing in your head?”
                                                            But
O  O  O  O  that Shakespeherian Rag—
It’s so elegant
So intelligent

“What shall I do now? What shall I do?”
“I shall rush out as I am, and walk the street
“With my hair down, so. What shall we do tomorrow?
“What shall we ever do?”
                                    The hot water at ten.
And if it rains, a closed car at four.
And we shall play a game of chess,
Pressing lidless eyes and waiting for a knock upon the door.

When Lil’s husband got demobbed, I said—
I didn’t mince my words, I said to her myself,
HURRY UP PLEASE ITS TIME
Now Albert’s coming back, make yourself a bit smart.
He’ll want to know what you done with that money he gave you
To get yourself some teeth. He did, I was there.
You have them all out, Lil, and get a nice set,
He said, I swear, I can’t bear to look at you.
And no more can’t I, I said, and think of poor Albert,
He’s been in the army four years, he wants a good time,
And if you don’t give it him, there's others will, I said.
Oh is there, she said. Something o’ that, I said.
Then I’ll know who to thank, she said, and give me a straight look.
HURRY UP PLEASE ITS TIME
If you don’t like it you can get on with it, I said,
Others can pick and choose if you can’t.
But if Albert makes off, it won’t be for lack of telling.
You ought to be ashamed, I said, to look so antique.
(And her only thirty-one.)
I can’t help it, she said, pulling a long face,
It’s them pills I took, to bring it off, she said.
(She’s had five already, and nearly died of young George.)
The chemist said it would be alright, but I’ve never been the same.
You are a proper fool, I said.
Well, if Albert won’t leave you alone, there it is, I said,
What you get married for if you don’t want children?
HURRY UP PLEASE ITS TIME
Well, that Sunday Albert was home, they had a hot gammon,
And they asked me in to dinner, to get the beauty of it hot—
HURRY UP PLEASE ITS TIME
HURRY UP PLEASE ITS TIME
Goonight Bill. Goonight Lou. Goonight May. Goonight.
Ta ta. Goonight. Goonight.
Good night, ladies, good night, sweet ladies, good night, good night.

III. The Fire Sermon

The river’s tent is broken: the last fingers of leaf
Clutch and sink into the wet bank. The wind
Crosses the brown land, unheard. The nymphs are departed.
Sweet Thames, run softly, till I end my song.
The river bears no empty bottles, sandwich papers,
Silk handkerchiefs, cardboard boxes, cigarette ends
Or other testimony of summer nights. The nymphs are departed.
And their friends, the loitering heirs of City directors;
Departed, have left no addresses.
By the waters of Leman I sat down and wept . . .
Sweet Thames, run softly till I end my song,
Sweet Thames, run softly, for I speak not loud or long.
But at my back in a cold blast I hear
The rattle of the bones, and chuckle spread from ear to ear.

A rat crept softly through the vegetation
Dragging its slimy belly on the bank
While I was fishing in the dull canal
On a winter evening round behind the gashouse
Musing upon the king my brother’s wreck
And on the king my father’s death before him.
White bodies naked on the low damp ground
And bones cast in a little low dry garret,
Rattled by the rat’s foot only, year to year.
But at my back from time to time I hear
The sound of horns and motors, which shall bring
Sweeney to Mrs. Porter in the spring.
O the moon shone bright on Mrs. Porter
And on her daughter
They wash their feet in soda water
Et O ces voix d’enfants, chantant dans la coupole!

Twit twit twit
Jug jug jug jug jug jug
So rudely forc’d.
Tereu

Unreal City
Under the brown fog of a winter noon
Mr. Eugenides, the Smyrna merchant
Unshaven, with a pocket full of currants
C.i.f. London: documents at sight,
Asked me in demotic French
To luncheon at the Cannon Street Hotel
Followed by a weekend at the Metropole.

At the violet hour, when the eyes and back
Turn upward from the desk, when the human engine waits
Like a taxi throbbing waiting,
I Tiresias, though blind, throbbing between two lives,
Old man with wrinkled female breasts, can see
At the violet hour, the evening hour that strives
Homeward, and brings the sailor home from sea,
The typist home at teatime, clears her breakfast, lights
Her stove, and lays out food in tins.
Out of the window perilously spread
Her drying combinations touched by the sun’s last rays,
On the divan are piled (at night her bed)
Stockings, slippers, camisoles, and stays.
I Tiresias, old man with wrinkled dugs
Perceived the scene, and foretold the rest—
I too awaited the expected guest.
He, the young man carbuncular, arrives,
A small house agent’s clerk, with one bold stare,
One of the low on whom assurance sits
As a silk hat on a Bradford millionaire,
The time is now propitious, as he guesses,
The meal is ended, she is bored and tired,
Endeavours to engage her in caresses
Which still are unreproved, if undesired.
Flushed and decided, he assaults at once;
Exploring hands encounter no defence;
His vanity requires no response,
And makes a welcome of indifference.
(And I Tiresias have foresuffered all
Enacted on this same divan or bed;
I who have sat by Thebes below the wall
And walked among the lowest of the dead.)
Bestows one final patronising kiss,
And gropes his way, finding the stairs unlit . . .

She turns and looks a moment in the glass,
Hardly aware of her departed lover;
Her brain allows one half-formed thought to pass:
“Well now that’s done: and I’m glad it’s over.”
When lovely woman stoops to folly and
Paces about her room again, alone,
She smoothes her hair with automatic hand,
And puts a record on the gramophone.

“This music crept by me upon the waters”
And along the Strand, up Queen Victoria Street.
O City City, I can sometimes hear
Beside a public bar in Lower Thames Street,
The pleasant whining of a mandoline
And a clatter and a chatter from within
Where fishmen lounge at noon: where the walls
Of Magnus Martyr hold
Inexplicable splendour of Ionian white and gold.

The river sweats
Oil and tar
The barges drift
With the turning tide
Red sails
Wide
To leeward, swing on the heavy spar.
The barges wash
Drifting logs
Down Greenwich reach
Past the Isle of Dogs.
                       Weialala leia
                       Wallala leialala
Elizabeth and Leicester
Beating oars
The stern was formed
A gilded shell
Red and gold
The brisk swell
Rippled both shores
Southwest wind
Carried down stream
The peal of bells
White towers
                       Weialala leia
                       Wallala leialala

“Trams and dusty trees.
Highbury bore me. Richmond and Kew
Undid me. By Richmond I raised my knees
Supine on the floor of a narrow canoe.”

“My feet are at Moorgate, and my heart
Under my feet. After the event
He wept. He promised ‘a new start.’
I made no comment. What should I resent?”

“On Margate Sands.
I can connect
Nothing with nothing.
The broken fingernails of dirty hands.
My people humble people who expect
Nothing.”
                       la la

To Carthage then I came

Burning burning burning burning
O Lord Thou pluckest me out
O Lord Thou pluckest

burning

IV. Death by Water

Phlebas the Phoenician, a fortnight dead,
Forgot the cry of gulls, and the deep sea swell
And the profit and loss.
                                       A current under sea
Picked his bones in whispers. As he rose and fell
He passed the stages of his age and youth
Entering the whirlpool.
                                       Gentile or Jew
O you who turn the wheel and look to windward,
Consider Phlebas, who was once handsome and tall as you.

V. What the Thunder Said

After the torchlight red on sweaty faces
After the frosty silence in the gardens
After the agony in stony places
The shouting and the crying
Prison and palace and reverberation
Of thunder of spring over distant mountains
He who was living is now dead
We who were living are now dying
With a little patience

Here is no water but only rock
Rock and no water and the sandy road
The road winding above among the mountains
Which are mountains of rock without water
If there were water we should stop and drink
Amongst the rock one cannot stop or think
Sweat is dry and feet are in the sand
If there were only water amongst the rock
Dead mountain mouth of carious teeth that cannot spit
Here one can neither stand nor lie nor sit
There is not even silence in the mountains
But dry sterile thunder without rain
There is not even solitude in the mountains
But red sullen faces sneer and snarl
From doors of mudcracked houses
                                              If there were water
      And no rock
      If there were rock
      And also water
      And water
      A spring
      A pool among the rock
      If there were the sound of water only
      Not the cicada
      And dry grass singing
      But sound of water over a rock
      Where the hermit-thrush sings in the pine trees
      Drip drop drip drop drop drop drop
      But there is no water

Who is the third who walks always beside you?
When I count, there are only you and I together
But when I look ahead up the white road
There is always another one walking beside you
Gliding wrapt in a brown mantle, hooded
I do not know whether a man or a woman
—But who is that one on the other side of you?

What is that sound high in the air
Murmur of maternal lamentation
Who are those hooded hordes swarming
Over endless plains, stumbling in cracked earth
Ringed by the flat horizon only
What is the city over the mountains
Cracks and reforms and bursts in the violet air
Falling towers
Jerusalem Athens Alexandria
Vienna London
Unreal

A woman drew her long black hair out tight
And fiddled whisper music on those strings
And bats with baby faces in the violet light
Whistled, and beat their wings
And crawled head downward down a blackened wall
And upside down in air were towers
Tolling reminiscent bells, that kept the hours
And voices singing out of empty cisterns and exhausted wells.

In this decayed hole among the mountains
In the faint moonlight, the grass is singing
Over the tumbled graves, about the chapel
There is the empty chapel, only the wind’s home,
It has no windows, and the door swings,
Dry bones can harm no one.
Only a cock stood on the rooftree
Co co rico co co rico
In a flash of lightning. Then a damp gust
Bringing rain

Ganga was sunken, and the limp leaves
Waited for rain, while the black clouds
Gathered far distant, over Himavant.
The jungle crouched, humped in silence.
Then spoke the thunder
DA
Datta: what have we given?
My friend, blood shaking my heart
The awful daring of a moment’s surrender
Which an age of prudence can never retract
By this, and this only, we have existed
Which is not to be found in our obituaries
Or in memories draped by the beneficent spider
Or under seals broken by the lean solicitor
In our empty rooms
DA
Dayadhvam: I have heard the key
Turn in the door once and turn once only
We think of the key, each in his prison
Thinking of the key, each confirms a prison
Only at nightfall, aethereal rumours
Revive for a moment a broken Coriolanus
DA
Damyata: The boat responded
Gaily, to the hand expert with sail and oar
The sea was calm, your heart would have responded
Gaily, when invited, beating obedient
To controlling hands

                                    I sat upon the shore
Fishing, with the arid plain behind me
Shall I at least set my lands in order?

London Bridge is falling down falling down falling down
Poi s’ascose nel foco che gli affina
em>Quando fiam ceu chelidon—O swallow swallow
Le Prince d’Aquitaine à la tour abolie
These fragments I have shored against my ruins
Why then Ile fit you. Hieronymo’s mad againe.
Datta. Dayadhvam. Damyata.

          Shantih     shantih     shantih

Notes

Not only the title, but the plan and a good deal of the incidental symbolism of the poem were suggested by Miss Jessie L. Weston’s book on the Grail legend: From Ritual to Romance (Cambridge). Indeed, so deeply am I indebted, Miss Weston’s book will elucidate the difficulties of the poem much better than my notes can do; and I recommend it (apart from the great interest of the book itself) to any who think such elucidation of the poem worth the trouble. To another work of anthropology I am indebted in general, one which has influenced our generation profoundly; I mean The Golden Bough; I have used especially the two volumes Adonis, Attis, Osiris. Anyone who is acquainted with these works will immediately recognize in the poem certain references to vegetation ceremonies.

I. The Burial of the Dead

Line 20. Cf. Ezekiel II, i.
23. Cf. Ecclesiastes XII, v.
31. V. Tristan und Isolde, I, verses 5–8.
42. Id. III, verse 24.
46. I am not familiar with the exact constitution of the Tarot pack of cards, from which I have obviously departed to suit my own convenience. The Hanged Man, a member of the traditional pack, fits my purpose in two ways: because he is associated in my mind with the Hanged God of Frazer, and because I associate him with the hooded figure in the passage of the disciples of Emmaus in Part V. The Phoenician Sailor and the Merchant appear later; also the “crowds of people,” and Death by Water is executed in Part IV. The Man with Three Staves (an authentic member of the Tarot pack) I associate, quite arbitrarily, with the Fisher King himself.
60. Cf. Baudelaire:

“Fourmillante cité, cité pleine de rêves
“Où le spectre en plein jour raccroche le passant.”

63. Cf. Inferno III, 55–57:

                          “si lunga tratta
“di gente, ch’io non avrei mai creduto
che morte tanta n’avesse disfatta.”

64. Cf. Inferno IV, 25–27:

“Quivi, secondo che per ascoltare,
“non avea pianto ma’ che de sospiri,
“che l’aura eterna facevan tremare.”

68. A phenomenon which I have often noticed.
74. Cf. The Dirge in Webster’s White Devil.
76. V. Baudelaire, Preface to Fleurs du Mal.

II. A Game of Chess

77. Cf. Antony and Cleopatra, II, ii, I. 190.
92. Laquearia. V. Aeneid, I, 726:

                          “dependent lychni laquearibus aureis incensi, et noctem flammis funalia vincunt.”

98. Sylvan scene. V. Milton, Paradise Lost, IV, 140.
99. V. Ovid, Metamorphoses, VI, Philomela.
100. Cf. Part III 1. 204.
115. Cf. Part III 1. 195.
118. Cf. Webster: “Is the wind in that door still?”
126. Cf. Part I, ll. 37, 48.
138. Cf. the game of chess in Middleton’s Women Beware Women.

III. The Fire Sermon

176. V. Spenser, Prothalamion.
192. Cf. The Tempest, I, ii.
196. Cf. Marvell, To His Coy Mistress.
197. Cf. Day, Parliament of Bees:

“When of the sudden, listening, you shall hear,
“A noise of horns and hunting, which shall bring
“Actaeon to Diana in the spring,
“Where all shall see her naked skin. . .”

199. I do not know the origin of the ballad from which these lines are taken; it was reported to me from Sydney, Australia.
202. V. Verlaine, “Parsifal.”
210. The currants were quoted at a price “carriage and insurance free to London”; and the Bill of Lading etc. were to be handed to the buyer upon payment of the sight draft.
218. Tiresias, although a mere spectator and not indeed a “character,” is yet the most important personage in the poem, uniting all the rest. Just as the one-eyed merchant, seller of currants, melts into the Phoenician Sailor, and the latter is not wholly distinct from Ferdinand Prince of Naples, so all the women are one woman, and the two sexes meet in Tiresias. What Tiresias sees, in fact, is the substance of the poem. The whole passage from Ovid is of great anthropological interest:

. . . Cum Iunone iocos et “maior vestra profecto est
Quam, quae contingit maribus,” dixisse, “voluptas.”
Illa negat; placuit quae sit sententia docti
Quaerere Tiresiae: venus huic erat utraque nota.
Nam duo magnorum viridi coeuntia silva
Corpora serpentum baculi violaverat ictu
Deque viro factus, mirabile, femina septem
Egerat autumnos; octavo rursus eosdem
Vidit et “est vestrae si tanta potentia plagae,”
Dixit “ut auctoris sortem in contraria mutet,
Nunc quoque vos feriam!” percussis anguibus isdem
Forma prior rediit genetivaque venit imago.
Arbiter hic igitur sumptus de lite iocosa
Dicta Iovis firmat; gravius Saturnia iusto
Nec pro materia fertur doluisse suique
Iudicis aeterna damnavit lumina nocte,
At pater omnipotens (neque enim licet inrita cuiquam
Facta dei fecisse deo) pro lumine adempto
Scire future dedit poenamque levavit honore.

221. This may not appear as exact as Sappho’s lines, but I had in mind the “longshore” or “dory” fisherman, who returns at nightfall.
253. V. Goldsmith, the song in The Vicar of Wakefield.
257. V. The Tempest, as above.
264. The interior of St. Magnus Martyr is to my mind one of the finest among Wren’s interiors. See The Proposed Demolition of Nineteen City Churches: (P.S. King & Son Ltd.).
266. The Song of the (three) Thames-daughters begins here. From line 292 to 306 inclusive they speak in turn. V. Götterdämmerung, III, i: the Rhine-daughters.
279. V. Froude, Elizabeth Vol. I, ch. iv, letter of De Quadra to Philip of Spain: “In the afternoon we were in a barge, watching the games on the river. (The queen) was alone with Lord Robert and myself on the poop, when they began to talk nonsense, and went so far that Lord Robert at last said, as I was on the spot there was no reason why they should not be married if the queen pleased.”
293. Cf. Purgatorio, V. 133:

“Ricorditi di me, che son la Pia;
“Siena mi fe’, disfecemi Maremma.”

307. V. St. Augustine’s Confessions: “to Carthage then I came, where a cauldron of unholy loves sang all about mine ears.”
308. The complete text of the Buddha’s Fire Sermon (which corresponds in importance to the Sermon on the Mount) from which these words are taken, will be found translated in the late Henry Clarke Warren’s Buddhism in Translation (Harvard Oriental Series). Mr. Warren was one of the great pioneers of Buddhist studies in the occident.
312. From St. Augustine’s Confessions again. The collocation of these two representatives of eastern and western asceticism, as the culmination of this part of the poem, is not an accident.

V. What the Thunder Said

In the first part of Part V three themes are employed: the journey to Emmaus, the approach to the Chapel Perilous (see Miss Weston’s book) and the present decay of eastern Europe.

357. This is Turdus aonalaschkae pallasii, the hermit-thrush which I have heard in Quebec Country. Chapman says (Handbook of Birds of Eastern North America) “it is most at home in secluded woodland and thickety retreats. . . . Its notes are not remarkable for variety or volume, but in purity and sweetness of tone and exquisite modulation they are unequaled.” Its “water-dripping song” is justly celebrated.
360. The following lines were stimulated by the account of one of the Antarctic expeditions (I forget which, but I think one of Shackleton’s): it was related that the party of explorers, at the extremity of their strength, had the constant delusion that there was one more member than could actually be counted.
366-76. Cf. Hermann Hesse, Blick ins Chaos: “Schon ist halb Europa, schon ist zumindest der halbe Osten Europas auf dem Wege zum Chaos, fährt betrunken im heiligem Wahn am Abgrund entlang und singt dazu, singt betrunken und hymnisch wie Dmitri Karamasoff sang. Ueber diese Lieder lacht der Bürger beleidigt, der Heilige und Seher hört sie mit Tränen.”
401. “Datta, dayadhvam, damyata” (Give, sympathise, control). The fable of the meaning of the Thunder is found in the Brihadaranyaka–Upanishad, 5, I. A translation is found in Deussen’s Sechzig Upanishads des Veda, p. 489.
407. Cf. Webster, The White Devil, V. vi:

                          “. . . they’ll remarry
“Ere the worm pierce your winding-sheet, ere the spider
Make a thin curtain for your epitaphs.”

411. Cf. Inferno, XXXIII, 46:

“ed io seniti chiavar l’uscio di sotto
all’orribile torre.”

Also F. H, Bradley, Appearance and Reality, p. 346.
“My external sensations are no less private to myself than are my thoughts or my feelings. In either case my experience falls within my own circle, a circle closed on the outside; and, with all its elements alike, every sphere is opaque to the others which surround it. . . . In brief, regarded as an existence which appears in a soul, the whole world for each is peculiar and private to that soul.”
424. V. Weston: From Ritual to Romance; chapter on the Fisher King.
427. V. Purgatorio, XXVI, 148.

“‘Ara vos prec, per aquella valor
‘que vos guida al som de l’escalina,
‘sovegna vos a temps de ma dolor.’
Poi s’ascose nel foco che gli affina.”

428. V. Pervigilium Veneris. Cf. Philomela in Parts II and III.
429. V. Gérard de Nerval, Sonnet “El Desdichado.”
431. V. Kyd’s Spanish Tragedy.
433. Shantih. Repeated as here, a formal ending to an Upanishad. “The Peace which passeth understanding” is a feeble transition of the content of this word.

Hear me: Sometimes thunder is just thunder.
The dog barking is only a dog. Leaves fall
from the trees because the days are getting shorter,
by which I mean, not the days we have left,
but the actual length of time, given the tilt of earth
and distance from the sun. My nephew used to see
a therapist who mentioned that, at play,
he sank a toy ship and tried to save the captain.
Not,  he said, that we want to read anything into that.
Who can read the world? It’s paragraphs
of cloud, and alphabets of dust. Just now
a night bird outside my window made a single
plaintive cry that wafted up between the trees.
Not, I’m sure, that it was meant for me.

^{—after Anis Mojgani and Audre Lorde}

For those making tea in the soft light of Saturday morning 
in the peaceful kitchen 
in the cool house 
For those with shrunken hearts still trying to love 
For those with large hearts trying to forget 
For those with terrors they cannot name 
upset stomachs and too tight pants 
For those who get cut off in traffic 
For those who spend all day making an elaborate meal 
that turns out mediocre 
For those who could not leave 
even when they knew they had to 
For those who never win the lottery 
or become famous 
For those getting groceries on Friday nights

There is something you know 
about living 
that you guard with your life 
your one fragile, wonderful life 
wonder, as in, awe, 
as in, I had no idea I would be here now.

For those who make plans and those who don’t 
For those driving across the country to a highway that knows them 
For the routes we take in the dark, trusting 
For the roads for the woods for the dead humming in prayer 
For an old record and a strong sun
For teeth bared to the wind 
a pulse in the chest 
a body making love to itself

There is every reason to hate it here 
There is a list of things making it bearable: 
your friend’s shoulder Texas barbecue a new book 
a loud song a strong song a highway that knows you 
sweet tea an orange cat a helping hand 
an unforgettable dinner

a laugh that escapes you and deflates you 
like a pink balloon left soft with room 
for goodness to take hold

For those who have looked in the mirror and begged
For those with weak knees and an attitude
For those called “sensitive” or “too much” 
For those not called enough
For the times you needed and went without
For the photo of you as a child 
quietly icing cupcakes your hair a crackling thunderstorm

Love is coming. 
It’s on its way. 
Look—

And another day in Gaza 
Another day in Palestine
A day in prison 
And we live on
Despite Israel’s very much identified flying objects 
That we see more than our family and friends
And despite Israel’s death sentences
Like lead
Cast upon the head
As we sleep
Like acid rain
Gnawing at our life
Clinging to it like a flea to a kitten
And stuffed in our throats
The moment we say “Amen”
To the prayers of old women and men 
Despite Israel’s birds of death
Hovering only two meters from our breath
From our dreams and prayers
Blocking their ways to God.
Despite that. 
We dream and pray, 
Clinging to life even harder
Every time a dear one’s life 
Is forcibly rooted up. 
We live. 
We live. 
We do. 

^{May 27, 2012}

If I must die, 
you must live
to tell my story
to sell my things
to buy a piece of cloth
and some strings, 
(make it white with a long tail)
so that a child, somewhere in Gaza
while looking heaven in the eye
awaiting his dad who left in a blaze—
and bid no one farewell
not even to his flesh
not even to himself—
sees the kite, my kite you made, flying up above
and thinks for a moment an angel is there
bringing back love
If I must die
let it bring hope
let it be a tale

^{November 27, 2011}

HEY

C’MON
COME OUT

WHEREVER YOU ARE

WE NEED TO HAVE THIS MEETING
AT THIS TREE

AIN’ EVEN BEEN
PLANTED
YET

^{Not songs of loyalty alone are these,
But songs of insurrection also,
For I am the sworn poet of every dauntless rebel the world over.
             —Walt Whitman}

I see the dark-skinned bodies falling in the street as their ancestors fell
before the whip and steel, the last blood pooling, the last breath spitting.
I see the immigrant street vendor flashing his wallet to the cops,
shot so many times there are bullet holes in the soles of his feet.
I see the deaf woodcarver and his pocketknife, crossing the street
in front of a cop who yells, then fires. I see the drug raid, the wrong
door kicked in, the minister's heart seizing up. I see the man hawking
a fistful of cigarettes, the cop’s chokehold that makes his wheezing
lungs stop wheezing forever. I am in the crowd, at the window,
kneeling beside the body left on the asphalt for hours, covered in a sheet.

I see the suicides: the conga player handcuffed for drumming on the subway,
hanged in the jail cell with his hands cuffed behind him; the suspect leaking
blood from his chest in the backseat of the squad card; the 300-pound boy
said to stampede bare-handed into the bullets drilling his forehead.

I see the coroner nodding, the words he types in his report burrowing
into the skin like more bullets. I see the government investigations stacking,
words buzzing on the page, then suffocated as bees suffocate in a jar. I see
the next Black man, fleeing as the fugitive slave once fled the slave-catcher,
shot in the back for a broken tail-light. I see the cop handcuff the corpse.

I see the rebels marching, hands upraised before the riot squads,
faces in bandannas against the tear gas, and I walk beside them unseen.
I see the poets, who will write the songs of insurrection generations unborn
will read or hear a century from now, words that make them wonder
how we could have lived or died this way, how the descendants of slaves
still fled and the descendants of slave-catchers still shot them, how we awoke
every morning without the blood of the dead sweating from every pore.

There are no stars tonight 
But those of memory. 
Yet how much room for memory there is 
In the loose girdle of soft rain.

There is even room enough 
For the letters of my mother’s mother, 
Elizabeth, 
That have been pressed so long 
Into a corner of the roof 
That they are brown and soft, 
And liable to melt as snow.

Over the greatness of such space 
Steps must be gentle. 
It is all hung by an invisible white hair. 
It trembles as birch limbs webbing the air.

And I ask myself:

“Are your fingers long enough to play 
Old keys that are but echoes: 
Is the silence strong enough 
To carry back the music to its source 
And back to you again 
As though to her?”

Yet I would lead my grandmother by the hand 
Through much of what she would not understand; 
And so I stumble. And the rain continues on the roof 
With such a sound of gently pitying laughter.

somewhere i have never travelled, gladly beyond
any experience, your eyes have their silence:
in your most frail gesture are things which enclose me,
or which i cannot touch because they are too near

your slightest look easily will unclose me
though i have closed myself as fingers,
you open always petal by petal myself as Spring opens
(touching skillfully, mysteriously) her first rose

or if your wish be to close me, i and
my life will shut very beautifully, suddenly,
as when the heart of this flower imagines
the snow carefully everywhere descending;

nothing which we are to perceive in this world equals
the power of your intense fragility: whose texture
compels me with the colour of its countries,
rendering death and forever with each breathing

(i do not know what it is about you that closes
and opens; only something in me understands
the voice of your eyes is deeper than all roses)
nobody, not even the rain, has such small hands

since feeling is first
who pays any attention 
to the syntax of things
will never wholly kiss you;

wholly to be a fool
while Spring is in the world

my blood approves,
and kisses are a better fate 
than wisdom
lady i swear by all flowers. Don’t cry
—the best gesture of my brain is less than
your eyelids’ flutter which says

we are for each other: then
laugh, leaning back in my arms
for life’s not a paragraph

And death i think is no parenthesis

                The world is a beautiful place 
                                                           to be born into 
if you don’t mind happiness 
                                             not always being 
                                                                        so very much fun 
       if you don’t mind a touch of hell
                                                       now and then
                just when everything is fine
                                                             because even in heaven
                                they don’t sing 
                                                        all the time

             The world is a beautiful place
                                                           to be born into
       if you don’t mind some people dying
                                                                  all the time
                        or maybe only starving
                                                           some of the time
                 which isn’t half so bad
                                                      if it isn’t you

      Oh the world is a beautiful place
                                                          to be born into
               if you don’t much mind
                                                   a few dead minds
                    in the higher places
                                                    or a bomb or two
                            now and then
                                                  in your upturned faces
         or such other improprieties
                                                    as our Name Brand society
                                  is prey to
                                              with its men of distinction
             and its men of extinction
                                                   and its priests
                         and other patrolmen
                                                         and its various segregations
         and congressional investigations
                                                             and other constipations
                        that our fool flesh
                                                     is heir to

Yes the world is the best place of all
                                                           for a lot of such things as
         making the fun scene
                                                and making the love scene
and making the sad scene
                                         and singing low songs of having 
                                                                                      inspirations
and walking around 
                                looking at everything
                                                                  and smelling flowers
and goosing statues
                              and even thinking 
                                                         and kissing people and
     making babies and wearing pants
                                                         and waving hats and
                                     dancing
                                                and going swimming in rivers
                              on picnics
                                       in the middle of the summer
and just generally
                            ‘living it up’

Yes
   but then right in the middle of it
                                                    comes the smiling
                                                                                 mortician

                                           

What if you knew you'd be the last
to touch someone?
If you were taking tickets, for example,
at the theater, tearing them,
giving back the ragged stubs,
you might take care to touch that palm,
brush your fingertips
along the life line's crease.

When a man pulls his wheeled suitcase
too slowly through the airport, when
the car in front of me doesn't signal,
when the clerk at the pharmacy
won't say Thank you, I don't remember
they're going to die.

A friend told me she'd been with her aunt.
They'd just had lunch and the waiter,
a young gay man with plum black eyes,
joked as he served the coffee, kissed
her aunt's powdered cheek when they left.
Then they walked half a block and her aunt
dropped dead on the sidewalk.

How close does the dragon's spume
have to come? How wide does the crack
in heaven have to split?
What would people look like
if we could see them as they are,
soaked in honey, stung and swollen,
reckless, pinned against time?

^{—after William Wordsworth}

The world is too much with us. Late and soon
it’s morning, phone in hand, and a screen on my wrist powers
on to report the no rest I had. News, a tragedy—so easily ours—
already breaking as I crack my eggs. Rage and prayers, rage and prayers, a boon
for the tycoon’s fear-campaign, clicks for the zillionaire buying up the moon.
Ad, ad, an AI figment, someone squawking, someone hawking—hours
consumed, of this only life, and who is left in the garden, who is tending the flowers?
I am trying to hear the birdsong through the auto-tune
of all this ubiquitous engineered crooning, but a podcast informs me silence will be
extinct by the weekend, gone like thought and the good kind of alone. Peace is outworn;
it’s chaos that feeds the algorithm, no likes for the actual, the tangible. No lea
without a billboard promising Hell as if it isn’t here. But don’t be forlorn, 
I’m sold—the world is yours! (after this ad) unending and enhanced on a screen. Don’t mind the sea
at the door. Time for a selfie, suggests my phone. A filter. I can add (for free!) horns.

^{They tried to bury us. They didn’t know we were seeds.
            —Mexican Proverb}

I was born among the bodies. I was hurried
forward, and sealed a thin life for myself.

I have shortened my name, and walk with
a limp. I place pebbles in milk and offer

them to my children when there is nothing
else. We can not live on cold blood alone.

In a dream, I am ungendered, and the moon
is just the moon having a thought of itself.

I am a wolf masked in the scent of its prey
and I am driven—hawk like—to the dark

center of things. I have grasped my eager
heart in my own talons. I am made of fire,

and all fire passes through me. I am made
of smoke and all smoke passes through me.

Now the bodies are just calcified gravity,
built up and broken down over the years.

Somewhere there are phantoms having their
own funerals over and over again. The same

scene for centuries. The same moon rolling
down the gutter of the same sky. Somewhere

they place a door at the beginning of a field
and call it property. Somewhere, a tired man

won’t let go of his dead wife’s hand. God
is a performing artist working only with

light and stone. Death is just a child come to
take us by the hand, and lead us gently away.

Fear is the paralyzing agent, the viper that
swallows us living and whole. And the devil,

wears a crooked badge, multiplies everything
by three. You—my dark friend. And me.